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Malmsteen does, in fact, play with a good deal of feel and emotion on this album. His love and enthusiasm for making music show through in everything he plays here. And of course, at this point in his career, Malmsteen was still a guitar virtuoso of the highest order. Even though Deep Purple guitarist Ritchie Blackmore had been the first heavy metal guitarist to incorporate classical scales into a hard rock style, and Ozzy Osbourne's late right-hand man Randy Rhoads had perfected what would come to be known as the neoclassical style of heavy metal guitar, Malmsteen built on their work, creating a fully-formed and innovative style. Make no mistake about it: Yngwie Malmsteen is an exceptionally talented guitarist, and this album was one of the last moments where he actually demonstrated it.
But what both Malmsteen's fans and his critics fail to realize is that there's a lot more to look at in his music than just instrumental prowess. "Rising Force" is made up of genuinely good songs. "Black Star" is one of the all-time great rock instrumentals; it's one of the few Malmsteen instrumental composition that's actually built around a signature riff and contains a distinguishable solo (and what a solo it is!), rather than the entire song being the solo. The same can be said for "Evil Eye" and "Little Savage." "Far Beyond the Sun" and "Icarus' Dream Suite," by contrast, feature Malmsteen using a technique that Joe Satriani would often employ: namely, letting his guitar take on the role of "lead vocalist."
The real lead vocalist of Malmsteen's band, however, was a talented young self-taught singer named Jeff Scott Soto. Soto is one of the finest vocalists in all of rock music, but on this album he rarely gets a chance to show it. His vocals are only featured on two tracks, neither of which lets him show what he's capable of. "Now Your Ships Are Burned" makes terrible use of his amazing range, and "As Above, So Below" only hints at the feats of vocal brilliance he would achieve on Malmsteen's second album, "Marching Out." As it is, Soto manages to hold his own on this record and sound convincing, even while singing Malmsteen's sub-par lyrics.
Both "Rising Force" and its follow-up, "Marching Out," see Yngwie Malmsteen in rare form, as his amazing instrumental talent is actually matched by the music he uses it to create. It's just a shame that most people -- including those who actually like Malmsteen's style of playing -- don't allow for him to do anything musically interesting, which is what he was most certainly doing on this album.
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